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Reviewer: Steve Marsh Downstairs system - Source: Vecteur D-2 CD Transport; Audio Note DAC Kit 1.2 with upgrades (ps choke, tantalum resistors, Black Gate caps, copper grounding bars on digital chips wired to central ground) Preamp: Hovland HP-100 MC tube preamplifier, fully updated Power amp: Red Rose Model 2A Silver Signature tube amplifier Speakers: Audio Physic Anniversary Step speakers; Audio Physic Luna active subwoofer Analogue Interconnects: Harmony Audio, Stealth Audio CWS Digital Interconnect: Music Metre Fidelis Speaker Wire: homemade twisted pair of mil-spec silver cladded multistrand copper Power Cords: Analysis Plus Power Oval, PS Audio Mini Lab Power Conditioner: PS Audio P300 Resonance control: Michael Green equipment rack Room: 29' long x 16' wide x 10' high (sunken living room with open floor plan, listening across width of room) Upstairs system - Source: Thorens TD-125 Mk.II turntable with SME 3009 tonearm, Garrot P77 mm cartridge, Cotter Verion phono cable; NAD 5000 CD Player Preamp: Juicy Music BlueBerry tube preamplifier [on review] Power amps: Pilot SA-260 tube amplifier, fully restored; Leak TL-12+ tube monoblocks; Leak ST-20 tube amp Speakers: JBL Century L-100 speakers; Hyperion HPS-938 [on review] Interconnects: Baton Speaker Wire: Baton, homemade twisted pair of mil-spec silver cladded multistrand copper, TARA Labs Phase II Power line conditioning: Adcom ACE-515 AC Enhancer Equipment support: Vintage racks Room: 22' long x 17' wide x 10' high with eaves Review component retail: $1,995 factory-direct only |
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As Mark Deneen, the owner of Juicy Music, said to me in an email: "1974 was a loooong time ago." That is when Mark Deneen formed a small company, Paragon Audio in San Carlos/California and came to market with a new tube preamplifier based on a design licensed from Bruce Moore. This must have taken considerable courage at the time since tube equipment was fast disappearing and the only company still really serious about it then was the formidable Audio Research. Despite these odds, Paragon sold about 400 Paragon 12 preamps and 250 System E preamps. In 1978, the company sold to Audio Dynamics, a division of BSR, USA. Mark worked for them briefly until they dissolved, then went into the computer industry in Silicon Valley. He was not heard from in the audio world until his reemergence with Juicy Music in 2004 (shipping their first unit in April 2004). The company is truly a micro-sized cottage industry, with the only employees being Mark and his wife. All operations run through the web site, via advertising on AudiogoN and communications by e-mail. How about those unconventional company and product names, Juicy Music, BlueBerry and Peach? I know Mark lives in California but c'mon Mark -maybe back off the granola a bit? The Juicy Music BlueBerry preamp did not arrive in a fruit crate but was packed well. Opening the box, my impressions were of a handmade product with a definite cottage-industry look to it. This will not appeal to the Jadis or Hovland lovers but Mark has obviously made a conscious decision to concentrate on the circuit design and parts quality and leave the glitz to others. That makes sense to me. |
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Since I broached the topic of packaging in my Hyperion review, I might as well make one niggling remark. Mark appears to have taken styrofoam house insulation and cut it to size for packing material. I see this done by some eBay stereo equipment sellers and it is a nice idea but the spongy, open-cell polyurethane foam would seemingly make for a softer landing if the carrier tosses the box off the truck. Perhaps just the bottom layer could be changed? The tubes supplied were: 1 x JJ Tesla ECC83S, 2 x EI Elite 12AT7, 1 x EI Elite 6DJ8 and an unbranded old stock 12X4 rectifier. The tubes caused some initial problems when I started playing records and found very little gain and some other obvious sonic problems. The first thing to do was test the tubes. In my Hickok 539B, the two EI 12AT7s tested marginal and the 12X4 rectifier was erratic. I contacted Mark who was understandably embarrassed but took ownership of the problem and asked that I return the unit for new tubes and a full checkup. Apparently, his tube supplier had done him wrong. Mark assured me that cages would be rattled. Besides the weak/bad tubes, a slightly cracked part needed replacement elsewhere. The preamp was repaired and returned within a few weeks. This time, Mark supplied me with some vintage RCA black-plate 12AT7s but one of them was terribly microphonic. Fortunately, I have loads of 12AT7s and easily replaced it with another RCA. All was well now and the preamp performed flawlessly ever since. |
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Looking inside the preamp, it is readily apparent that Mark has put his money in all the right places. I must admit that the design strikes a sympathetic chord with my own biases. First, the power supply is tube-rectified and choke (C-L-C) filtered. The high voltage supply is then further filtered through a RC filter network using six large 180 uF capacitors. Tube filament voltages are supplied by a solid-state bridge rectifier, which is C-R-C filtered and regulated by another solid-state device. While there is certainly nothing revolutionary in this power supply design, it is uncommon to find such a robust and well-executed power supply in a preamp at this price level. Phono equalization is done through a passive RIAA network and both phono and line stage circuits are open-loop designs with no feedback. Adding to the benefits of the good design work is the use of high quality parts, including ceramic tube sockets, Hovland coupling caps and an Alps master volume control. |
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The chassis is basic steel sheet metal, with an aluminum panel bolted to the front. The aluminum front panel has a polycarbonate laminate glued to it, which is colored with a blueberry color scheme. The front panel's aesthetics are not really my cup of tea but it's admittedly a good place to save costs. From left to right, the front panel knobs are: source selector, source/tape switch, stereo/mono switch, left channel gain trim pot, master volume control, right channel gain trim pot, standby/operate switch and power switch. The only thing I miss here is a mute switch. The power cord is a detachable IEC connection, which will be important for those who like to dabble in power cord | ||||||||||||||||||||||
tweaking. (FYI, I tried my PS Audio Mini Lab, which did not seem to be an improvement in this case.) The rear panel has a wealth of PCB-mounted RCA input jacks, including a tape loop, four line level inputs and two phono inputs. My BlueBerry was set up for moving magnet input (47k loading), but Mark also offers a moving coil input option utilizing Jensen input transformers for the additional gain. The owner's manual is a model of clarity and conciseness. There is no BS, no misspellings and even good information on Mark's design philosophy. |
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I first installed the preamp in place of my Hovland HP-100 in my downstairs system. I only compared line stages here since the BlueBerry's phono stage was not configured for my low output Roksan Shiraz moving coil. Fresh off the Hyperion speaker review, I put in the Leonard Cohen Ten New Songs CD again since I was quite familiar with it now. The first thing that hit me was a nice big soundstage with lots of bloom. This was not unexpected given it's an all-tube preamp but it surely reminded me of why I like tubes. It did not have a fuzzy, syrupy tube sound. |
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The preamp was very quiet too, with only a very faint tube hiss present when the volume control was cranked up all the way on both phono and line. At normal listening levels, it was dead quiet. Comparison to the Hovland is not really fair given the much higher cost of the Hovland but it does serve as a reference point. The BlueBerry does not have the image focus of the Hovland nor is it as refined and informative on transients. On the other hand, the BlueBerry portrayed vocals wonderfully and with a slightly greater sense of ease. |
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One of Srajan's 6moons compilations for CES 2004 has been a reviewing workhorse for me as well as being thoroughly enjoyable. Cut #6, Sera Una Noche's "Betonotti" from La Segunda is a haunting piece with astonishing image depth and a female vocal that is a tough test for a system. While the BlueBerry does not portray the images with sharp outlines like the Hovland, it does allow one to see into the rear of the soundstage. Image sizes are of proper proportion, too. Soundstage width is excellent. The vocal in this cut can take on a bit of hardness in some systems but the BlueBerry rendered it as well or better than I've heard anywhere. There was a natural fullness with no hard edge. As I learned with further listening, this is a hallmark of the BlueBerry's sonic signature. Vocals are simply sublime. |
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The BlueBerry has superb tonal balance. Cut 14 on the same 6moons disc, Ziroq's "Voices" from Ziroq, I found again that the BlueBerry does not call attention to itself in any one particular performance aspect. It presents music in a very even-handed way. There is no sense of any frequency anomalies. Highs are extended and clear with no tizziness or emphasis. In one email exchange with Mark, I was asking him about the design. He said he worked hard to get a sense of clarity, especially from 1kHz on up. He has succeeded. This clarity is achieved without any cost of edginess or harshness in the upper mids. A compilation CD that I used during the Hyperion follow-up, Jazz Like You've Never Heard It Before [Polygram 819 344-2] illustrates this well. The strings and horn on Ella and Louis' 'Summertime" were just wonderful. In fact, the upper mids were downright creamily smooth. Please do not misconstrue this to imply colorations - not at all. |
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Not to get in a rut, I put in another CD I used with the Hyperions: Bassology's The Feeling That I Get [Reckless Music RMCD-1024]. This CD is a great test for handling of bass in both power and pitch. The BlueBerry did very well, the only difference between it and the Hovland being a slight rounding off of leading edges. The bass was not quite as tight as with the best tube preamps but was powerful and satisfying. |
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An interesting quality I noticed was the BlueBerry's ability to play loudly without any sense of strain. If I had to choose one word to describe this quality, it'd be composure. Lovers of rock music would do well to audition this preamp. Wailing guitar solos and full-throttle R&B were a real kick. You can really crank 'er up! I suspected Mark to be a rock music fan and emailed him about his listening preferences. Indeed, he does like the 60s' protest/folk/psychedelic genre |
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(along with a variety of other music). But this doesn't mean that the preamp is not good with other types of music - it is! To test out the phono stage, I brought the BlueBerry upstairs to mate with my Thorens TD-125 Mk.II. Several amps took turns in the system, too, rotating through my Leak ST-20, Pilot SA-260 and modified Leak TL-12+ monoblocks. In the end, I did most of my listening with the Pilot amp. |
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This Miles Davis LP is a very special recording, with Hank Mobley on tenor, Wynton Kelly on piano, Jimmy Cobb on drums and Paul Chambers on bass. What more could a jazz lover want? I just had the most stupid grin on my face the whole time. The incredible rhythm of this performance, with Kelly's percussive left-hand piano counterpoint to Chambers' bass, was just freaking fabulous - yes, I'm gushing! I did a little tube rolling with the BlueBerry phono stage too and found a very nice combination. This tube complement gave the preamp just the right balance of guts and sweetness while the low-noise front-end tube made for a very quiet background. V1: selected low-noise RAM Labs (Roger Majeski) 12AT7 |
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For a taste of classical music, I tried out McCauley's "Five Miniatures for Flute and Strings" and Barlow's "Night Song" on Mercury SR90277. This is on the flip side of the Loeffler Deux Rapsodies. It is an extremely natural-sounding recording. The first few notes went right to my heart and I felt that emotional connection to the music that lets you know things are right. Suffice to say that I immediately started digging through my latest pile of record purchases. |
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I confess that I have a soft spot for funk, from James Brown as a youngster through Sly and the Family Stone, Tower of Power, Rick James and now Outkast (not the rap that is also on the CD). When I saw Outkast in their premier appearance on the Tonight Show, I just howled. Andre 3000's wacky tennis outfit getup, Afro hair and some truly innovative choreography for the backup dancers gyrating to "Hey Ya" was like a breath of fresh air. Finally, something new in pop music. So, I slipped Speakerboxx/The Love Below into the CD player and let it fly. It's a good thing my neighbors are not close because I just cranked this up through the roof! This CD simply thrived on the BlueBerry's vitamins. This preamp does full justice to a high-volume dance party if you're so inclined. |
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Juicy Music replies:
Dear Mr. Ebaen, |
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Sincerely, Mark Deneen JuicyMusic Ferndale, CA |
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Juicy Music website
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